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Successful Rural Plays 

A Strong List From Which to Select Your 
Next Play 

FARM FOLKS. A Rural Play in Four Acts, by Arthur 
Lewis Tubbs. For five male and six female characters. Time 
of playing, two hours and a half. One simple exterior, two 
easy interior scenes. Costumes, modern. Flora Goodwin, a 
farmer's daughter, is engaged to Philip Burleigh, a young New 
Yorker. Philip's mother wants him to marry a society woman, 
and by falsehoods makes Flora believe Philip does not love her. 
Dave Weston, who wants Flora himself, helps the deception by 
intercepting a letter from Philip to Flora. She agrees to marry 
Dave, but on the eve of their marriage Dave confesses, Philip 
learns the truth, and he and Flora are reunited. It is a simple 
plot, but full of speeches and situations that sway an audience 
alternately to tears and to laughter. 

HOME TIES. A Rural Play in Four Acts, by Arthur 
Lewis Tubes. Characters, four male, five female. Plays two 
hours and a half. Scene, a siir.ple interior — same for all four 
acts. Costumes, modern. One of the strongest plays Mr. Tubbs 
has written. Martin Winn's wife left him when his daughter 
Ruth was a baby. Harold Vincent, the nephew and adopted son 
of the man who has wronged Martin, makes love to Ruth Winn. 
She is also loved by Len Everett, a prosperous young farmer. 
When Martin discovers who Harold is, he orders him to leave 
Ruth. Harold, who does not love sincerely, yields. Ruth dis- 
covers she loves Len, but thinks she has lost him also. Then 
he comes back, and Ruth finds her happiness. 

THE OLD NEW HAMPSHIRE HOME. A New 

England Drama in Three Acts, by Frank Dumont. For seven 
males and four females. Time, two hours and a half. Costumes, 
modern. A play with a strong heart interest and pathos, yet rich 
in humor. Easy to act and very effective. A rural drama of 
the "Old Homstead" and "Way Down East" type. Two ex- 
terior scenes, one interior, all easy to set. Full of strong sit- 
uations and delightfully humorous passages. The kind of a play 
ever3^body understands and likes. 

THE OLD DAIRY HOMESTEAD. A Rural Comedy 
in Three Acts, by Fraxk Dumont. For five males and four 
females. Time, two hours. Rural costumes. Scenes rural ex- 
terior and interior. An adventurer obtains a large sum of money 
from a farm house through the intimidation of the farmer's 
niece, whose husband he claims to be. Her escapes from the 
wiles of the villain and his female accomplice are both starting, 
and novel. 

A WHITE MOUNTAIN BOY. A Strong Melodrama in 
Five Acts, hy Charles Townsend. For seven males and four 
females, and three supers. Time, two hours and twenty minutes. 
One exterior, three interiors. Costumes easy. The hero, a 
country lad. twice saves the life of a banker's daughter, which 
results in their betrothal. A scoundrelly clerk has the banker 
in his power, but the White Mountain boy finds a way to check- 
mate his schemes, saves the banker, and wins the girl. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



Our Motherland 

A Patriotic Pageant Play 
In Eight Episodes 



By 

EDITH BURROWS 

Author of 
^'A Garden CindereP/^" «tc. 




PHILADELPHIA 

THE PENN PUBLISHING COiMPANY 

1921 



^$-^' 



COPYRIGHT 
1921 BY 
THE PENN 
PUBLISHING 
COMPANY 




Motherland 



TMP92-008753 



MAR I 7 1321 
©GID 57142 



Motherland 



A Patriotic Pageant Play in Eight Episodes 
For School or Community Production 



EPISODES 



I. Exploration and Colonization, 1492-1732. 

II. England Becomes Supreme, 1 588-1 763. 

III. Revolution and Nationalization, 1763- 1789. 

IV. Sectional Development, 1 789-1861. 

V. Civil War and Reconstruction, 1861-1876. 

VI. Later Development, 1876-19 14. 

VII. The Time of Darkness, 1914-1919. 

VIII. Victory and Peace, 1919- 



CAST OF CHARACTERS 

{In order of appearance) 

Time — Herald of Events. 

Motherland. 

Liberty. 

Justice. 

Indians. 

Exploring Nations — Spain, England, France, Hol- 
land. 

Colonies — Spanish, English, French, Dutch. 

Spirit of '76. 

Developing Sections — West, North, South. 

Western Pioneers. 

Slavery — Child of the South. 

Spirit of Lincoln — A Light and a Voice. 

Capital. 

Labor. 

Wealth — Child of Capital and Labor. 

Alien Children — Irish, Norwegians, Russians, Ital- 
ians, etc. 

Spirit of Colonies. 

Inventive Genius. 

Aeroplane. 

Submarine. 

A Voice of Suffering — Belgium. 

Army 

Navy 

Red Cross 

Thrift Worker 

Nurse 

Canteen Worker 

Farmerette 

Motor Corps Driver 

Boy Scout 

Camp Fire Girl 

Victory 



War Workers. 

(This group may be added 
to ad libitum, to bring in any 
phases of local war work that 
seem desirable to represent.) 



COSTUMES 

Time wears the regular " Father Time " flowing 
robes of white, and carries an hour-glass and a silver 
horn. 

Motherland wears long classic draperies of white 
or cloth of silver. Later in the play a silk American 
flag is draped from her right shoulder, and she is given 
a gleaming silver helmet, sword, and shield. 

Liberty wears long classic draperies of red (the red 
of the American flag). On her head is a Liberty-cap, 
also red. 

Justice wears long classic draperies of blue (the 
blue of the American flag). She is blindfolded, and 
carries scales in one hand and a sword in the other. 
Her head is uncovered. 

Indians wear typical Indian costumes. (See any 
reliable illustrations.) 

Exploring Nations wear classic draperies combin- 
ing the colors of their flags, and each nation carries a 
large flag, which she plants in the court of Motherland 
on arrival. 

Colonists, etc., wear costumes representing the va- 
rious types indicated in the text. (See any reliable 
illustrations in histories.) Special care should be taken 
with the costumes worn by Columbus, Drake, Mont- 
calm, Wolfe, and the minuet group. 

" Spirit of '76 " wear costumes copied from the 
picture. 

West wears a miniature costume of the western 
pioneer or frontiersman of early days. He carries a 
small sheaf of wheat, a basket of fruit, toy cow, toy 
tree, and pieces representing gold and silver ore. 

North wears overalls and a workman's cap. Under 
one arm he carries a steamboat and under the other a 
locomotive. Tied to a string which hangs about his 
neck are numerous models of various machines. 

South wears as " King Cotton " a white suit with 
knee-breeches, ruffled coat, etc. Hanging from his 
shoulders is a long robe of royal purple edged with 



6 COSTUMES 

cotton. On his head is a purple cap edged witli cotton. 
His gift — a large basket of cotton — is carried by his 
child — Slavery. If desired, he may be attended by six 
small children dressed to represent little cotton-balls. 

Slavery wears the ragged apparel of a southern field 
hand. She is black. Her feet are bare, and when she 
puts down the basket of cotton you notice that her 
hands are manacled together. 

Caiiial wears long, flowing mediaeval draperies of 
white or some delicate color, and over her unbound 
hair a veil of white chiffon is caught with a jeweled 
filet. Her girdle, too, is jeweled. She is distinctly the 
fine lady. 

Labor wears blue overalls, a gray shirt open at the 
throat, a round blue cap, and carries a sledge-hammer. 
He is distinctly the working man. 

Wealth wears a dress of yellow or cloth of gold 
that hangs straight to just above her ankles. Her 
golden hair is unbound, and she is crowned with gold. 
About her neck and waist are many golden chains, and 
on her wrists and ankles many bangles which give forth 
a metallic click as she moves. 

Alien Children wear peasant costumes of their re- 
spective lands. 

Spirit of Colonies wears flowing classic draperies 
similar to those worn by the exploring nations. Her 
dress combines red, white, and blue colors. In one 
hand she carries a small gate of gold, and in the other 
a large golden key, which gifts she later bestows upon 
Motherland. 

Inventive Genius wears thin chiffon draperies of 
gray. A very thin veil is draped over her head and 
conceals her face. A silver filet holds the veil in place. 
Strung about under her costume and operated by a 
switch which she can use are a number of tiny electric 
lamps, such as are hung on Christmas trees. These 
are connected with a small battery which she carries, 
and by operating the switch. Inventive Genius, a mys- 
terious power, at times glows with brilliant light. 

Aeroplane wears a short chiffon gown for dancing. 



SYNOPSIS 7 

It is pale blue — the blue of the sky — and partially 
veiled with white. She carries a model of an aero- 
plane. 

Submarine wears a short chiffon gown for dancing. 
It is sea-green, and partially veiled with a deeper 
green — the color of seaweed. She carries a model of 
a submarine. 

War Workers wear the uniform of their respective 
forms of service. 



SYNOPSIS 

I. Motherland watches her first-born children, the 
Indians, happy in the companionship of Liberty. To 
Motherland, with demands, come the Exploring Na- 
tions — Spain, England, France, and Holland. Then 
the colonial children of these nations arrive, and Lib- 
erty leaves the Indians and follows the fortunes of the 
English colonies. 

II. With Liberty's help, Spanish, Dutch, and finally 
French powers are subordinated to England in the new 
land. 

III. Liberty now is threatened by England, and the 
latter's control over her colonies becomes tyrannical. 
Aided by Liberty and France, the colonies throw off 
the yoke of England. Motherland takes a new place 
as one of the nations of the world, and is given her own 
flag. 

IV. The Sections of the new country — West, 
North, and South — develop and bring their resources 
as gifts to Motherland; but with the South comes her 
child. Slavery, who is a menace to Liberty. 

V. Justice points the way to danger, and in the en- 
suing quarrel between North and South the Spirit of 
Lincoln intervenes. Liberty strikes the shackles from 
Slavery with the sword of Justice, and North and 
South join in repairing the harm done to Motherland. 

VI. Capital and Labor appear, bringing with them 
their child, Wealth. The Spirit of Colonies comes 



8 SYNOPSIS 

with gifts, and the Alien Children are welcomed by 
Motherland. Meanwhile Wealth has produced a sense 
of false security by magic arts, lulling Liberty to sleep 
and unarming Motherland. The great Inventions ap- 
pear, and all are rejoicing over them and over the gen- 
eral happiness. 

VII. The Time of Darkness steals on apace. The 
Voice of Belgium is heard calling upon Motherland. 
England and France try to awaken Liberty and rouse 

'Motherland to arms. At last Liberty awakes, and 
with the aid of Justice arms Motherland. 

VIII. At last conscious of her danger and her duty 
to the world, Motherland appeals to her children. 
Their united response makes possible the arrival of 
Victorious Peace, when all forces join thankfully in a 
pledge of loyalty to the flag. 



Motherland 



SCENE.— The Court of Motherland represents a 
large hall, hung at back and sides with heavy cur- 
tains of a dull, soft color that mill make a good back- 
ground. Center back is a short flight of steps lead- 
ing up to a platform, on which is a white throne 
The platform must be large enough to accommodate 
three or four seated or standing figures. There are 
entrances right and left through the curtains Be- 
tween the throne of Motherland and the back-drop 
curtain sufficient room must be allowed for the low- 
ering of a huge American flag to serve as a back- 
ground at the end of the play. At the end of each 
hpisode the curtain is dropped for a moment or so 
tn order to enable Time to prepare the audience for 
the next Episode, and also in order to allow the 
characters who are on the stage from the beginning 
of the play to rest between scenes. 

Prologue to Episode I 

(TiME,^ the Herald, steps out before the curtain, and 
blowing a long, sweet blast upon his horn to arrest 
attention, speaks:) 

Time, Herald of Events, welcomes you all 

To festival in Motherland's fair hall. 

Here shall you vision from the earliest days 

How growth and change have made for present 

ways. 
First you shall see how stranger nations came 
To seek for wealth, for freedom, or for fame. 



10 MOTHERLAND 

{He hows low and disappears behind curtain. Imme- 
diately his horn blast is heard again, and the^ curtain 
rises. ) 



EPISODE I 

(Motherland is enthroned and attended by Time, the 
Herald, who sits at her feet, and Justice, who stands 
at her left side. Together they watch the Indians, 
who dance about a central figure at first concealed 
from the audience. Typical Indian dance music 
shoidd be played for this scene. When the dance 
ends the Indians stand aside, revealing the figure 
about whom they danced as Liberty. Together the 
Indians afid Liberty withdraw to the right of the 
platform as Motherland speaks:) 

Mother, {to the Indians). 

Are you content, my children, tell me true? 

1st Indian. 

More than content, and deeply grateful, too. 

For all your woodland, leafy cool retreat. 

Your rolling plains with flowers and grasses sweet. 

2d Indian. 

The wild things are the brothers of our band, 
And Liberty fares with us, hand in hand. 

{Indicating Liberty on last line. Here an Indian song 
is sung — "" Hymn to the Sun " is suggested, at the 
close of which Motherland speaks:) 

Mother. 

Ah ! they are happy. Herald Time, did'st hear ? 

Time {rising). 

Yes, Motherland, but short this joy, I fear. 
No more alone they seek your favors rare. 
Behold a stranger in apparel fair. 

{Pointing to Spain, who has entered at left and who 
noiv slozvly approaches the throne to the music of 



MOTHERLAND II 

the Spanish National Anthem, and bowing low he- 
fore Motherland, speaks:) 

Spain. 

Hail, Wonderland of romance and of gold, 
Fountain of Youth and stores of wealth untold. 
I come to seek your favor and to gain 
Renown through the long ages. I am Spain. 

Mother. 

Spain, you are welcome, what I have is yours, 

( Warningly. ) 

Take of my store, but choose that which endures ! 

(Motherland waves Spain to a place on her left, 
where the latter plants her flag. The Indians at 
first show a friendly interest in Spain, but she repels 
their advances, and they finally draw back. During 
this scene the Spanish Anthem is again softly played, 
but changes abruptly to ''Rule Brittania" as Eng- 
land enters left.) 

Time. 

So, Motherland, another comes apace. 

(England advances to the throne and, kneeling, 
speaks:) 

England. 

England a boon would ask, and by your grace. 
Begs leave to try her fortune in your unknown land. 

Mother. 

England most dear, behold my welcoming hand, 
Outstretched to greet you. Rise and stand you here. 

{Music of "Brittania" continues softly as Mother- 
land motions England to a place on her left beside 
Spain. England, after kissing the outstretched 
hand, rises and moves slowly left, finally planting 
her banner near Spain. Again the Indians press 
forward, as if to give friendly greeting, hut discour- 
aged by England's cold manner, draw hack. Lib- 
erty, as England m-oves left, follows her slowly, 
and leaves the Indians. The music during the ac- 



12 MOTHERLAND 

Hon changes from '' Brittania" to the " Marseillaise/' 
Enter France right.) 

Time. 

Behold, while yet you speak, one who draws near. 

France (approaching the throne and bowing low). 
Dear stranger land, in all your vast expanse, 
Mayhap you have a biding place for France. 

(The Indians press forward around her, and she 
smiles upon them.) 

Mother. 
Twice welcome, France ! My own heart pleads tor 

you. 
And all my first-born children greet you, too. 

(Motioning toward the Indians, and at the same time 
indicating a place on her right, where the Indians 
lead France to plant her banner. As this takes 
place, the music changes to the national anthem of 
Holland, and that nation enters, left. ) 

Time. 

See, Motherland, another stranger still. 

Mother, (beckoning, as Holland halts uncertainly). 
Welcome, my child, come hither, speak your will. 

Holland (approaching the throne and kneeling). 
Humbly I thank you for your greeting kind, 
A share in your land Holland hopes to find. 

Mother, (pointing left to a place near Spain and 
England). 
Rise, Holland, know you do not seek in vain. 

(Holland plants her flag near the others, and as music 
ceases, Motherland continues — speaking to all the 
countries. ) 

And now, my children, England, France, and Spain, 
With Netherlands beside you, ask a boon. 
What will ye have ? Say, and it shall be soon. 



MOTHERLAND Jj 

Spain {stepping forward). 

As eldest of the nations in your land, 
I crave the right to speak for all the band. 
This v/e desire: that from far-distant shore 
Our children come to be with us once mor^ 

Mother, {to all nations). 

This wish so spoken, is it true of all ? 

{All nations how in sign of assent.) 

Spain's children first then. Herald, sound the call ! 

Time {blowing a long, sweet blast). 

Children of Spain, approach and have no fear, 
'Tis Time who summons you with trumpet clear ! 

{Appropriate Spanish music is played softly, and frofn 
the left the Spanish children begin to arrive, headed 
by a group representing the landing of Columbus, 
{After the painting.) 

Time. 

See where he comes — the noblest one of all ! 
And others follow, answering the call. 
Lured by strange tales of treasure and romance, 
Staking their lives and fortunes on a chance. 
Gallant they are, but when the glamour's past 
And bitter toil confronts, I fear they will not last ! 

{Spanish grandees and court ladies who have followed 
in the wake of Columbus now enter upon a typical 
Spanish dance, at the close of which they take their 
places near Spain.) 

Mother, {to Spain). 
Your children, Spain, are dear, since first in time, 
To them I give my sunny Southern clime ! 
{To Time.) 
Now, Herald, sound the call for English men. 

Time {again blowing a long blast). 

Daughters and sons of England, hearken then, 
The hour has sounded for your gallant band 
To gather in the court of Motherland ! 

{Old English music sounds as the English colonists ap- 



14 MOTHERLAND 

pear from left. First come the typical cavalier ad- 
venturer types of Jamestown; then Puritans, hardy 
hackwo'odsmen, Quakers; and lastly, a group in later 
colonial costumes of silks and laces, with hair pow- 
dered, buckled slippers, etc., ready for the minuet. 
Care must be taken in introducing these groups not 
to hurry the effects. Plenty of time should be al- 
lowed for each group, and if the music is well ar- 
ranged and the costumes are adequate, there will be 
no sense of pause in the action. ) 

Time (continuing). 

And now they come, a truly noble throng, 
Dear Motherland, a happy life and long 
Should theirs be surely, for them crave the best, 
Not treasure merely ; homes they seek and rest 
For conscience from oppression's lash. Look where 
Sweet Liberty takes sides with those who dare ! 

(Pointing to Liberty, who slowly leaves the Indians 
with whom she has been standing, and joins the Eng- 
lish colonists, who have grouped themselves about 
England. At this point the minuet music is played, 
and the group who are dressed for the dance step 
forward and engage in it. At the end of the dance 
they resume their places near England. ) 

Mother, (/o England). 

England, to you and yours my Eastern coast 
Offers a home that you can make your boast. 
(To Time.) 
The children next of France, so Herald, blow ! 

Time (blozving a long blast). 

Frenchmen, 'tis Time who summons you to go 
Forth from your homes to ventures strange and new. 
They hear, O Motherland, they come to you, 
These sturdy French, for wealth and for their king — 
For conscience's dear sake, and their hearts they 
bring. 

(During this speech, to French music the colonists of 
France come slowly on from the right. Some are 



MOTHERLAND je 

dressed as hunters and trappers — two of these carry 
a canoe on their shoulders. Then there follow the 
great fur traders, and with them the Catholic mis- 
sionaries; here and there are great seigneurs and 
their ladies. As they take their places near France, 
the music changes to an Indian song, and the In- 
dians press forward around the French, mingling 
with them and indicating joy at their coming.) 
Mother, {to France). 

Happy the omen that my children greet 
Your children, France. And so 'tis only meet 
That they should share my inland waterways, 
And find there peace and plenty all their days. 
{In troubled voice.) 
Until 

Time {interrupting, warningly). 
Stay, Motherland, time is not yet 
For prophecy. You Netherlands forget ! 

Mother, {to Holland). 

Your grace I crave, fair Holland. Herald Time 
Bid Holland's children from their distant clime ! 

Time {blowing the usual long blast). 

Children of Netherlands, come, draw you near; 
Your hour has struck. Come freely, without fear ! 

(The Dutch colonists enter left. They wear the typ- 
ical Dutch costumes of the colonial period, and some 
are laden with fur pelts, while others carry ninepins 
and balls, as if ready for a game. Dutch music is 
played as they appr'oach and group themselves about 
Holland. ) 

Time {continuing). 

They bring you thrift and industry, dear land; 

Welcome a hundred times should be their band. 
Mother, (fo Holland). 

Welcome they are, dear Netherlands, and so 

We give our Hudson valley, love to show ! 

(Here a Dutch folk dance is entered into with spirit. 



l6 MOTHERLAND 

A few Indians leave the French and stroll over to 
mingle with the Dutch group. At the conclusion of 
this dance, the First Episode comes to an end, and 
the curtain falls. ) 

END OF EPISODE I 



EPISODE II 

Time {again stepping before the curtain and blowing 
his horn). 

When first the nations came to Motherland, 
An equal greeting gave she to each band ; 
But Liberty among them quickly chose, 
And by her aid supremely England rose. 

{Bows and withdraws behind curtain. Another horn 
blast is heard, and to s'oft Spanish music the curtain 
rises, disclosing the stage just as it was when the 
curtain fell on Episode I. ) 

Mother. 

Fate has decreed, my children, not the same 
Success to each one seeking, and one claim 
E'en now is doomed. Speak, Herald Time, and 
say — 

Time {slowly). 

The fleet of Spain to England yields this day ! 

Spain {stepping slowly forward and furling her flag as 
she reaches center stage). 
Since England's might is greatest on the main, 
Then farewell in this land to flag of Spain ! 
{Offering flag sadly.) 

England. 

Know that from all my land this flag to take, 
I summon and send forth Sir Francis Drake. 

{From the ranks of the English colonists Drake comes 
slowly forth with a flag of England, receives the 
Spanish flag, and escorting Spain back to her origi- 
nal position, gives her the English flag to symbolize 



MOTHERLAND 1 7 

f her submission to that power. " Rule Britannia " is 
' played very softly during this action. Dutch music 
now succeeds the " Britannia " very softly. ) 

Mother. 

Through half a century another land 

Liberty's rule has failed to understand, 

And now must pay the price. So, Herald, speak! 

Time {to Holland). 

That which you had at home you failed to seek 
In the new world, freedom for every man. 
That lack they felt, so when the foe began 
Attack, they yielded, glad of other rule. 

Holland {stepping slowly forward and furling her 
flag). 
Our fla^ we cede — Holland has played the fool ! 

England {motioning forward one of her colonists to 
take the proffered flag of Holland and replace it with 
the English flag, with which Holland returns to her 
place to the soft strains of " Ride Britannia" which 
has succeeded the Dutch music). 
Now we rejoice that lands unbroken lie 
Where the proud eastern ocean rushes by ! 

{A martial strain of the " Marseillaise " crashes upon 
the air, followed by a bar of "Britannia" in the 
same spirit. ) 

Mother. 

Alas, another struggle still draws nigh. 
One that does nations' soul and body try ! 
{To Time.) Time, do your duty. 

Time {blowing a blast). 
France, this call to you! 

Though to this land you've sent brave men and true, 
On Freedom's altar you must yield the palm 
To sons of England. Summon forth Montcalm \ 

(To the fidl martial strains of the " Marseillaise," from 
the ranks of the French colonists, Montcalm comes 
slowly, bearing the flag of France, while from the 



l8 MOTHERLAND 

Opposite ranks of England, Wolfe approaches to 
meet him, bearing the victorious banner of England. 
As the exchange of flags takes place, tKe music 
changes to " Britannia," and all on the stage join in 
singing it as the two men resume their places in the 
ranks. Liberty leads England slowly to a place on 
the platform to the right of Motherland, and she 
stands there supreme, her flag floating over all the 
colonies as the curtain falls. ) 

end of episode II 



EPISODE III 

Time {appearing before curtain and blowing his horn). 
But short, alas, must England's triumph be, 
And ended by the very Liberty 
That raised her high ! To lose control her fate 
When Motherland acquired a nation's state ! 

(Time bows and disappears behind curtain. The blast 
of his horn is soon heard, and the curtain rises, dis- 
closing the scene unchanged from Episode II. ) 

Mother. 

Relentlessly the wheels of fate roll on. 
Dragging to dust the glories that have gone. 
Come, Herald Time, and bid the years reveal 
Whatever secrets that they now conceal. 

Time (blowing his horn). 

Let all that must be hasten to proceed; 

This is the time for Freedom's word and deed ! 

England (haughtily). 

Too much, methinks, of " freedom " do we hear; 
Look where my subjects on that word appear ! 

(Pointing to a group of colonists who have surged for- 
ward at the word " freedom," with hands stretched 
out as in appeal.) 

A Colonist. 
Oh, England, mother-country, listen, pray! 



MOTHERLAND 



19 



England {harshly, waving them hack to their posi- 
tions). 
Have I not oft denied you ? Back, I say ! 

Liberty. 
You will not listen, England ? Best beware ! 

{A voice off stage, clear and well modulated, reads.) 

Voice. " We hold these truths to be self-evident : 
that all men are created equal ; that they are endowed 
by their Creator with certain inalienable rights; that 
among these are life, liberty, and the pursuit of happi- 
ness. That, to secure these rights, governments are 
instituted among men, deriving their just powers from 
the consent of the governed." 

(A stir of mingled anger and restlessness runs through 
the colonists. England shrugs her shoulders an- 
grily.) 

Liberty. 

Still obdurate ? Then for the worst prepare ! 

(To the strains of Yankee Doodle there enters upon 
the^ stage from the left a group representing " The 
Spirit of yd " from the painting. They pause near 
the throne of Motherland, and the colonists at the 
left press forward close to them. ) 

France (stepping forward from the right). 
It is decreed that here France play a part, 
And in the fight for freedom pledge her heart. 
For Holland and for Spain I also speak. 
Vengeance upon our rival we would wreak ! 

Liberty. 
Yea, even I must seem harsh, to be clear, 

(To England, pointing her off the platform to an 
insignificant place on the right, where she slowly 
moves.) 

In future let there be one ruler here ! 

(The music of "America " sounds softly, and the flags 
of England are put aside.) 



20 MOTHERLAND 

Time. 

Come, hasten on, events, do not delay. 
Behold, another act is still to play ! 

{The music ceases for a few moments, and again the 
voice off stage is heard,) 

Voice. " We, the people of the United States, in 
order to form a more perfect union, establish justice, 
insure domestic tranquillity, provide for the common 
defense, promote the general welfare, and secure the 
blessings of liberty to ourselves and our posterity, do 
ordain and establish this Constitution of the United 
States of America." 

(The music begins more loudly, Motherland rises as 
if in expectancy, as thirteen of the colonists, repre- 
senting the thirteen original states, now slowly ap- 
proach. Ten of them are carrying a very large and 
beautiful silk American flag, while the other three 
carry respectively a helmet, shield, and sword of 
gleaming silver. As the music continues, they drape 
the flag over Motherland's right shoulder, place 
the helmet on her head, and sword and shield in her 
hands. She now stands forth, a newly created na- 
tion of the world.) 

Time {as the colonists draw away from the throne and 
the music ceases). 

See where in splendid new-found state she stands, 
Columbia, our own dear land of lands ! 

{All on stage join in singing "Columbia, the Gem of 
the Ocean" as curtain falls.) 

end of episode III 



EPISODE IV 

Time {appearing before the curtain and blowing his 
horn). 

Now to a nation new and all untried, 
With sections differing and reaching wide, 



MOTHERLAND 21 

Comes growth, and each part tribute gives 
To the fair land that by their growing lives. 

(He bows and disappears behind the curtain. Soon 
the blast of his horn is heard, and the curtain rises, 
disclosing the scene as it was at the close of Episode 
III, except that Motherland, still bearing the 
signs of her new state, is now seated.) 

Mother. 

To our new state, O Herald Time, we pray, 
Summon our Section — children here to say 
How growth goes with them. 

Time. Hearing we obey. 

{Blowing his horn.) 

West ! though youngest far, hasten this way. 

(The West, a sturdy child laden with gifts for 
Motherland, enters gaily from the right, ap- 
proaches the throne and bows low.) 

West. 

Hail to thee. Motherland, what wouldst thou hear? 

Mother. 

What of thy growing, little West most dear ? 

West (looking about him for other Sections, and 
puzzled at not finding them). 
Speak I before my brothers, South and North? 
(Time nods assent.) 

1 only am because their men went forth, 
Braving all tasks. In their belief I grew, 
And now have promises to offer you, — 

(Showing his gifts as he piles them upon the platform 
at left.) 

Fair fields of grain and fruit, great forests old, 
Grazing for countless herds, silver and gold. 
Though young I am, as Herald Time did say, 
For all your trust and love I will repay ! 



22 MOTHERLAND 

See where they come, my hardy, fearless band, 
Pathfinders bold and sinews of the land ! 

(Pointing to where at left the Western Pioneers enter 
and take a position at left near the Dutch colonists. 
This group represents the early pioneers, Boone, 
Clark, Levier, Robertson, Lewis and Clark, 
Whitman, Fremont, Asbury, the "forty-niners" 
etc.) 

(Bows low and stands aside at right.) 

Mother. 

Well spoken, West, now Herald Time shall call 
Your elder brothers to account for all 
That they have wrought. 

Time (blowing his horn). 

North, second child in age, 
Hither, and show the writing on your page ! 

(North enters briskly from right, approaches the 
throne, and bends to one knee.) 

North. 

Hearing your summons, Motherland, I came. 

Mother. 

Tis well. What glories added to my name 
Have you to tell ? 

North (rising to his feet and showing boat, engine, 
etc.) 

Conquest of wave I sing. 
And iron monsters, scudding rails that bring 
Distance to naught ; canals that network make. 
Holding in wedlock river, sea, and lake: 
These things and countless numbers more, 
My hands have wrought by toil — a goodly store ! 

(He places his gifts near those of West, at left corner 
of platform, and stands quietly aside near West. ) 

Mother. 
Well pleased am I, O North, with what you say. 
(To Time.) 
Now hither call our eldest Section, pray. 



MOTHERLAND ^3 



Time (blowing his horn). 

South, early planted, rich and fan* of state, 
Motherland calls you to accounting great! 

(To a medley of southern music in which "Dixie'' 
^ predominates, the slow and dignified entry of South, 
aarhed as " King Cotton;' takes place from left He^ 
is followed by Slavery, bearing a large basket oj 
cotton, and, if desired, may be attended by six small 
children dressed to represent cotton balls. He ap- 
proaches the throne and bows his head to Mother- 



land.) 
South. 



Wealth do I bring. " King Cotton am I named, 
And justly for my splendor I am famed. 
Each smiling field yields to me riches, might. 
(Waving to Slavery, who obeys, placing the basket on 
the right corner of platform and remains standing 
near it. Liberty seems about to faint.) 
Approach, Slave Child, and show your treasure white ! 

Mother. _ 

Much I rejoice to see my Sections grow , 
Far-flung to other lands their praise shall go ! 
{As South draws slowly away from throne to the left, 
^ all on stage join in singing ''My Own United States 
as the curtain falls.) 

END OF EPISODE IV 



EPISODE V 

Time (appearing before curtain and blowing his horn), 
Dark hours draw near, of menace and of pain 
When North and South are parted by the stiain 
Of Slavery's dread shackles. Blood and tears 
Are shed by both, and Motherland's worst fears 
Bid fair to'^ome io pass, when Uncoln's voice 
Banishes hate and makes the land rejoice. 



24 MOTHERLAND 

{He hows low and disappears behind the curtain. AU 
most immediately the blast of his horn is heard, but 
the curtain does not at once rise. Storm, music 
sounds, minor and menacing, portending trouble. 
Finally the curtain slowly rises, revealing the stage 
as at the end of Episode IV, but a little darker,) 

Justice (warningly). 

There has come on a darkness and a chill; 
A dreadful menace looms above us, still 
And threatening the death of Liberty ! 

(Liberty seems almost in a swoon. Slowly the sword 
of Justice is pointed at the shackled hands which 
Slavery raises.) 

All (in horror). 

The South's child, look ! It is not free, not free ! 

North (stepping forward toward Slavery, who re- 
treats terrified toward South). 
Fear not, O Liberty, I shall defend, 
And from this helpless one the shackles rend. 

South (shielding Slavery and speaking furiously). 
She is my child. You shall not touch, I say ! 

North (trying to get at Slavery). 
Disgraceful ! I will take these bonds av^ay ! 

(Liberty seems revived by the North's attitude, and 
very slowly, accompanied by Justice, descends; both 
take a position hack of North.) 

South (beside himself with fury, and seizing the 
shield of Motherland for protection). 
My own I shall defend, (triumphantly) 

Now come what may ! 

North. 
Then I, too, arm myself for future fray ! 
( Wresting the sword fr^om Motherland. ) 

(The stage grows entirely dark except for a little light 
on Motherland. Storm music is played, and 
through its clashes are heard the weapons of the 



MOTHERLAND 25 

fighters. The music finally ceases, and the voice 
of Motherland is heard in supplication, ) 

Mother, {zvringing her hands in agony). 
Children, I beg of you for my sake, cease ! 
God of their fathers, point the way to peace ! 

{A light from above suddenly illumines the group of 
Motherland, North, South, Slavery, Liberty, 
and Justice. North and South are seen struggling 
over the kneeling and terrified shackled figure of 
Slavery. Liberty and Justice stand back of 
North, and Motherland looks on from her throne. 
The light from above suddenly becomes dazzling, 
North and South sink to their knees on either side 
of Slavery as a voice {the voice of Lincoln) is 
heard, giving the "Gettysburg Address." At the 
end of the speech the stage gradually grows lighter; 
North and South, humbled and ashamed, try to 
make amends for the wrong they have done to 
Motherland by restoring the weapons they have 
seized from her. With the sword of Justice, Lib- 
erty strikes the shackles from Slavery; then she 
and Justice resume their places on either side of 
Motherland. From the ending of the Gettysburg 
speech and continuing throughout the remainder of 
the action, all characters on the stage sing "The 
Battle Hymn of the Republic," at the close of which 
the curtain falls. ) 

END OF episode V 



EPISODE VI 

Time {appearing before the curtain and blowing his 
horn). 

Now to the Court of Motherland comes Wealth, 
Who with soft blandishments and guile, by stealth 
Unarms the land and freedom lulls to sleep, 
Wards of the nation ; those who bitter weep 



26 MOTHERLAND 

Oppression harsh in other lands, draw nigh ; 
Inventive Genius masters sea and sky ! 

{He hows and disappears behind curtain. Immedi- 
ately the blast of his horn is heard, and the curtain 
rises, disclosing the stage practically as it was at the 
end of Episode V, except that North and South 
and Slavery have withdrawn from center stage to 
a place at right near the Indians.) 

Mother. 

'Tis good to rest from fever and from strife, 
To build and not tear down our country's life. 
Time, hasten on events that still are hid, 
And to our court the signs of progress bid ! 

Time {blowing his horn). 

Not long we wait, for even now, see where 

{Pointing to right entrance where Capital and Labor 
appear and approach throne.) 

Come Capital and Labor, goodly pair 
Of builders for a growing land. 

Mother, {bowing a welcome to Capital and Labor). 

But who 
Is that who seems as if she follows you? 

{Motioning toward Wealth, who has entered behind 
Capital and Labor at right, and now approaches the 
throne after them.) 

Labor. 

O gracious Motherland, Wealth she is styled. 
Fair is her mien and soft her ways, the child 
Born of our wedlock. 

(Capital and Labor take a position at right.) 

Mother, {entranced by the beauty of Wealth). 
Wealth, it is my will, 
Since great your beauty, come you closer still ! 

{Summoning Wealth to a place on the platforui be- 
side the throne. During the remainder of the action 



MOTHERLAND 2*J 

of this Episode, Wealth slowly succeeds in disarm- 
ing Motherland and replacing the armor by golden 
chains, which she has been wearing as adornments. 
As she succeeds in her blandishments, Liberty, 
whose place she has taken, slozvly sinks into a deep 
sleep, and Justice bows her head in despair. ) 

Time {as the music of an Irish dance sounds faintly 
and then louder, and the Irish immigrants in peasant 
costume appear from left). 

. Look, Motherland, where alien children come, 
By harsh oppression driven from their home ! 

{The Irish immigrants engage in a peasant dance, after 
which they take up a position at left. Meanwhile 
the Norwegian immigrants appear right, and they 
also take part in a typical folk dance. These are 
followed by groups of Russians and Italians in na- 
tional peasant costumes, appearing from left and 
right respectively, and also dancing in typical folk 
dances. Any other nations desired may be repre- 
sented here, and in case of community production 
the foreign-born members will be able to arrange 
their own group dances. At the close of these folk 
dances, Motherland speaks.) 

Mother. 
Thrice welcome to our shores, my foreign-born, 
Here you are free from harshness and from scorn. 
Gladly we greet you, and rejoicing claim 
All honors that you bring unto our name ! 

Time {indicating right entrance where the Spirit of 
Colonies appears). 
Behold this stranger fair who comes in state. 

{Soft Hawaiian music coidd be effectively introduced 
here. ) 

Spirit of Colonies {approaching the throne). 
Key to Pacific and to East the gate, 
In me, dear Motherland, your colonies 
Their loyal greetings send across the seas ! 



1 



i 

I 

I 
2s motherland | 

Spain. | 

I knew her passing well in olden time, j 

My flag flew o'er much of her sunny clime. • 

Spirit of Colonies. 
Aye, Spain, 'tis true, but now to Motherland 
We offer the allegiance of our band. 

( Giving to Motherland the gate and key of gold, and 
then taking up her position at right near groups of 
Alien Children.) 

Mother, {to Spirit of Colonies). 

Warmly we thank you, from our hearts rejoice, 
Dear Colonies, that you have made your choice 
Our loyal service ! 

Time. Motherland, attend ! 

{Pointing to right entrance, where Inventive Genius 
enters, Holding her children Aeroplane and Sub- 
marine by either hand,) 

Inventive Genius {approaching the throne and bow- 
ing. The little inventions also bow), 
I am Inventive Genius, and I bend 
Unto my will the elements — fire, air, 
Earth, water. Mastery of these I dare, 
To bring you honor, glory, and acclaim. 
{To inventions.) 

Stand boldly forth, my children, and proclaim 
What each can do if Motherland should need ! 

Aeroplane {advancing to center front of stage). 
With wings of bird I fly and pay no heed 
To earthly bondage. Who with me shall dare 
Attempt a flight shall triumph over air ! 

Submarine {advancing to a position opposite Aero- 
plane). 

With fin of fish I cleave the briny deep, 
Under and down the rushing waters steep ; 
I speak to prove that he who dives with me 
A victor is, for I have mastered sea ! 



MOTHERLAND 29 

{Here a dance of the air and sea may he very effect- 
ively introduced, if desired, and entered into by the 
Aeroplane and Submarine. It may he an eccentric 
or interpretive dance, as preferred hy the producers. 
At the end of this dance the inventions take place at 
right near Inventive Genius.) 

Mother. 

My children all, fortune is more than kind. 
Wealth, Colonies, Newcomers, these we find. 
And now Inventive Genius thought has spent 
To swell our greatness. We are well content ! 

(All on stage join in singing " Motherland," published 
by J. Fischer & Bro., y-ii Bible House, New York 
City. At the end of song the curtain falls.) 

END OF EPISODE VI 



EPISODE VII 

Time {appearing before curtain and blowing his horn). 
The Time of Darkness dread draws on apace 
When Motherland from pleasure turns her face 
To listen to the weeping of the world. 
From peace to cruel war in terror hurled. 
But Liberty sleeps on and does not hear 
Till Belgium's war-tone cry reaches her ear. 

{He bows and disappears behind the curtain. Soon 
the blast of his horn is heard, and the curtain rises, 
revealing the stage just as it was at the end of 
Episode VI.) 

Mother, {doubtfully). 

Time now is for rejoicing, yet we still 
Feel roundabout a menace and a chill. 
Tell us, O Herald Time, why do we dread? 

Time {solemnly). 

Because the world is weeping for its dead ! 



30 MOTHERLAND 

(Dirge-like music sounds faintly, a bell tolls softly at 
intervals, and the stage grows dusky, as if overhung 
with a dark menace,) 

Mother. 

O Time, we beg of you, what is in store, 
That Hght seems fled from us forevermore? 

Time (clearly). 

Sacrifice, Motherland! 

A Voice (off stage in tones of terrible suffering), 

God help us all ! 
Mother. 
That voice of suffering ! Whose was that call ? 

Time. 

A cry for freedom ! 

Mother, (excusing herself). 

It is now so long 
Since I h-ave heard the call of freedom's song ! 

A Voice. 

Give us your sons ! 

Mother, (shuddering). 

I shall give money, see ! 

(Pushing Wealth off from the platform, Wealth 
finds a place at right near Capital and Labor. As 
she leaves the throne, Justice raises her head and 
Liberty shows a faint sign of life.) 

But not my children's blood. That cannot be ! 
A Voice. 

Oh, waken, Liberty, so great my pain, 
Must I forever call on you in vain ? 

(Belgian national air, "La Brabanconne," is played 
here softly, and Liberty opens her eyes and strug- 
gles weakly to her feet.) 

France (stepping forward with England beside her). 
See, Motherland, we too join Belgium's plea; 
Will you not join the cause for Liberty? 



MOTHERLAND 3! 

Mother, (rising in great distress and showing her 
golden bonds). 

Yes, so I would. Behold, I am not free. 
Alas, alas, my strength is gone from me ! 

Liberty {fidly revived). 

Rejoice, I am awake, dear Motherland, 

And Justice now shall cleave this golden band ! 

(Justice cuts the chains with her sword, the stage 
grows lighter, and to a medley of the Allies' battle 
songs, Liberty and Justice restore the helmet, 
sword, and shield to Motherland. The curtain 
falls.) 

END OF episode VII 



EPISODE VIII 

Time {appearing before the curtain and blowina his 
horn). ^ 

Now roused at last from trance, and armored fair 
Stands Motherland, prepared to do and dare. 
She lifts her voice, and at her urgent call 
Rise loyal sons and daughters, eager all 
And pledged to fight till cruel war shall cease, 
Till Victory is theirs and hard-won peace ! 

{He bozvs low and disappears behind the curtain. 
Soon the blast of his horn is heard, this time sound- 
tng " To Arms," as the curtain rises, revealing the 
stage just as it was at the close of Episode VII, ex- 
cept that France and England have returned to 'their 
places. ) 

Mother. 

Speak forth, my children, who now dares with me 
Fight for the world and for democracy ? 

All {raising hands and shouting). 
All! All! All! 



32 MOTHERLAND 

Mother. 
Time, let your hours speed fast toward lasting peace, 
Hasten the day that wars forever cease ! 

Time (blowing the " call to arms "). 

All ye who toiled to bring this glad time near, 
At our command now with all speed appear ! 

{The " Stars and Stripes Forever " march is played, as 
from right and left enter lines of war-workers, etc. 
One line is headed by the Army, the other by the 
Navy. Following these are Red Cross, Farmer- 
ette, Thrift Worker, Motor Corps Driver, 
Nurse, Canteen Worker, Boy Scout, Camp- Fire 
Girl, etc., etc. These may be added to ad lib. As 
these two lines headed by Army and Navy drazv 
near the throne, they halt, standing at ''Salute/' 
from zvhich position they snap down their hands on 
the last note of the music. During their entrance 
and while the " Stars and Stripes " is being played, 
a huge American flag is let down back of the throne 
of Motherland, forming a background for this 
whole picture. As the music ceases Time speaks:) 

Time. 

For all your sacrifice and will to save, 
Behold a rich reward for what you gave. 

(Pointing to where at left to soft music Victorious 
Peace enters, bearing in one hand a white dove and 
in the other a laurel crown. Time steps down from 
the platform, and goes forward to meet Peace, lead- 
ing her to a place at the left foot of platform, while 
he takes up a position opposite at right foot of plat- 
form. On the platform now are Liberty, Mother- 
land, and Justice in costumes of red, white, and 
blue, respectively, against the flag.) 

Mother. 

For all the blessings that have come to you, 
My children, to your flag a pledge is due. 

All (saluting flag, right hand brought to forehead, 



MOTHERLAND ,. 

then eMed toward flag on word "flag," arm keM 
so ex ended for remainder of pledge) ^ 

I pledge allegiance to my flag, and to the rennhlir 

^1r//''^ '^''f^f"^ f""" '"^"^'' ""<i all on staqe join 
Z,i Mf chorus, "The Star Spangled BanJeT' 
after whuh the curtain falls on the end of the play ) 



CURTAIN 



Unusually Good Eistertaiiiments 

Read One or More of These Before Dsciding on 
Your Next Program 

GRADUATION DAY AT WOOD HILI* SCHOOL. 

An Entertainment in Two Acts, by Ward Macauley. For six 
males and four females, with several minor parts. Time of 
playing, two hours. Modern costumes. Simple interior scenes; 
may be presented in a hall without scenery. The unusual com- 
bination of a real "entertainment," including music, recitations, 
etc., with an interesting love story. The graduation exercises 
) include short speeches, recitations, songs, funny interruptions, 
and a comical speech by a country school trustee. 

EXAMINATION DAY AT WOOD HILL SCHOOL. 

An Entertainment in One Act, by Ward Macauley. Eight male 
and six female characters, with minor parts. Plays one hour. 
Scene, an easy interior, or may be given without scenery. Cos- 
tumes, modern. Miss Marks, the teacher, refuses to marry « 
trustee, who threatens to discharge her. The examination in- 
cludes recitations and songs, and brings out many funny answers 
to questions. At the close Robert Coleman, an old lover, claims 
the teacher. Very easy and very effective, 

BACK TO THE COUNTRY STORE. A Rural Enter- 
tainment in Three Acts, by Ward Macauley. For four male 
and five female characters, with some supers. Time, two hours. 
Two scenes, both easy interiors. Can be played effectively with- 
out scenery. Costumes, modern. All the principal parts are 
sure hits, Quigley Higginbotham, known as "Quig," a clerk in 
a country store, aspires to be a great author or singer and 
decides to try his fortunes in New York, The last scene is in 
Quig's home. He returns a failure but is offered a partnership 
in the country store. He pops the question in the midst of a 
surprise party given in his honor. Easy to do and very funny. 

THE DISTRICT CONVENTION. A Farcical Sketch 
in One Act, by Frank Dumont. For eleven males and one 
female, or twelve males. Any number of other parts or super- 
numeraries may be added. Plays forty-five minutes. No special 
scenery is required, and the costumes and properties are all 
easy. The play shows an uproarious political nominating con- 
vention. The climax comes when a woman's rights cham- 
pion, captures the convention. There is a. great chance to bur- 
lesque modern politics and to work in local gags. Every 
part will make a hit. , 

SI SLOCUM'S COUNTRY STORE. An Entertainment 
in One Act, by Frank Dumont, Eleven male and five female 
characters with supernumeraries. Several parts may be doubled. 
Plays one hour. Interior scene, or may be played without set 
scenery. Costumes, modern. The rehearsal for an entertain- 
ment in the village church gives plenty of opportunity fo? 
specialty work. A very jolly entertainment of the sort adapted 
to almost any place or occasion. 

THE PENN PUBUSHING COMPANY 

PHILADELPHIA 



Unusually Good Entertainments 

Read One or More of These Before Deciding on 
Your Next Program 

A SURPRISE PARTY AT BRINKLEY'S. An En- 

tertainment in One Scene, by Ward Macauley. Seven male and 
seven female characters. Interior scene, or may be given with- 
out scenery. Costumes, modern. Time, one hour. By the 
author of the popular successes, "Graduation Day at Wood HiU 
School," "Back to the Country Store," etc. The villagers have 
planned a birthday surprise party for Mary Brinkley, recently 
graduated from college. They all join in jolly games, songs, 
conundrums, etc., and Mary becomes engaged, which surprises 
the surprisers. The entertainment is a sure success. 

JONES VS. JINKS. A Mock Trial in One Act, by 
Edward Mumford. Fifteen male and six female characters, with 
supernumeraries if desired. May be played all male. Many of the 
parts (members of the jury, etc.) are small. Scene, a simple 
interior ; may be played without scenery. Costumes, modern. 
Time of playing, one hour. This mock trial has many novel 
features, unusual characters and quick action. Nearly every 
character has a funny entrance and laughable lines. There are 
many rich parts, and fast fun throughout. 

THE SIGHT-SEEING CAR. A Comedy Sketch in One 
Act, by Ernest M. Gould. For seven males, two females, or 
may be all male. Parts may be doubled, with quick changes, so 
that four persons may play the sketch. Time, forty-five minutes. 
Simple street scene. Costumes, modern. The superintendent 
of a sight-seeing automobile engages two men to run the 
machine. A Jew, a farmer, a fat lady and other humorous 
characters give them all kinds of trouble. This is a regular gat- 
ling-gun stream of rollicking repartee. 

THE CASE or SMYTHE VS. SMITH. An Original 
Mock Trial in One Act, by Frank Dumont. Eighteen males 
and two females, or may be all male. Plays about one hour. 
Scene, a county courtroom ; requires no scenery ; may be played 
in an ordinary hall. Costumes, modern. This entertainment is 
nearly perfect of its kind, and a sure success. It can be easily 
produced in any place or on any occasion, and provides almost 
any number of good parts. 

THE OLD MAIDS' ASSOCIATION. A Farcical Enter- 
tainment in One Act, by Louise Latham Wilson. For thirteen 
females and one male. The male part may be played by a 
female, and the number of characters increased to twenty or 
more. Time, forty minutes. The play requires neither sceneryk 
nor properties, and very little in the way of costumes. Cam 
easily be prepared in one or two rehearsals. 

BARGAIN DAY AT BI*OOMSTEIN'S. A Farcical 
Entertainment in One Act, by Edward Mumford. For five males 
and ten females, with supers. Interior scene. Costumes, mod- 
ern. Time, thirty minutes. The characters and the situations 
which arise from their endeavors to buy and sell make rapid-fire 
fun from start to finish. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



Successful Plays for All Girls 

In Selecting Your Next Play Do Not Overlook This List 

YOUNG DOCTOR DEVINE. A Farce in Two Acts, 
by Mrs. E, J. H. Goodfellow. One of the most popular 
plays for girls. For nine female characters. Time in 
playing, thirty minutes. Scenery, ordinary interior. Mod- 
ern costumes. Girls in a boarding-school, learning that a 
young doctor is coming to vaccinate all the pupils, eagerly con- 
sult each other as to the manner of fascinating the physician. 
When the doctor appears upon the scene the ptipils discover that 
the physician is a female practitioner. 

SISTER MASONS. A Burlesque in One Act, by Frank 
DuMONT. For eleven females. Time, thirty minutes. Costumes, 
fantastic gowns, or dominoes. Scene, interior. A grand expose 
of Masonry. Some women profess to learn the secrets of a 
Masonic lodge by hearing their husbands talk in their sleep, 
and they institute a similar organization. 

A COMMANDING POSITION. A Farcical Enter- 
tainment, by Amelia Sanford. For seven female char- 
acters and ten or more other ladies and children. Time, one 
hour. Costumes, modern. Scenes, easy interiors and one street 
scene. Marian Young gets tired living with her aunt, Miss 
Skinflint. She decides to "attain a commanding position." 
Marian tries hospital nursing, college settlement work and 
school teaching, but decides to go back to housework. 

HOW A WOMAN KEEPS A SECRET. A Comedy 
in One Act, by Fraxk Dumont. For ten female characters. 
Time, half an hour. Scene, an easy interior. Costumes, modern. 
Mabel Sweetly has just become engaged to Harold, but it's "the 
deepest kind of a secret." Before announcing it they must win 
the approval of Harold's uncle, now in Europe, or lose a possible 
ten thousand a year. At a tea Mabel meets her dearest friend. 
Maude sees Mabel has a secret, she coaxes and Mabel tells her. 
But Maude lets out the secret in a few minutes to another 
friend and so the secret travels. 

THE OXFORD AFFAIR. A Comedy in Three Acts, 
by Josephine H, Cobb and Jennie E. Paine. For eight female 
characters. Plays one hour and three-quarters. Scenes, inter- 
iors at a seaside hotel. Costumes, modern. The action of the 
play is located at a summer resort. Alice Graham, in order to 
chaperon herself, poses as a widow, and Miss Oxford first claims 
her as a sister-in-law, then denounces her. The onerous duties 
of Miss Oxford, who attempts to serve as chaperon to Miss 
Howe and Miss Ashton in the face of many obstacles, furnish 
an evening of rare enjoyment. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



LIBRARY OF CONGRESS 

016 102 535 5 # 

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17 14 De Lancey Street Philadelohit 



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016 102 535 5 



